Centre for the Study of Communication and Culture Volume 23 (2004) No. 4 IN THIS ISSUE Religion and Film Part I: History and Criticism Terry Lindvall Visiting Lecturer, Duke Divinity School AQUARTERLY REVIEW OF COMMUNICATION RESEARCH ISSN: 0144-4646 Communication Research Trends Table of Contents Volume 23 (2004) Number 4 http://cscc.scu.edu 1. Introduction . 3 2. Film History and Religion . 4 Published four times a year by the Centre for the Study of A. Pre-cinematic Studies . 4 Communication and Culture (CSCC), sponsored by the B. Religious Film Histories . 5 California Province of the Society of Jesus. C. Roman Catholics and the Legion of Decency . 5 Copyright 2004. ISSN 0144-4646 D. Secular Film Histories and Religion . 7 E. History of Christian Filmmaking . 9 Editor: William E. Biernatzki, S.J. 3. Film Criticism and Religion . .10 Managing Editor: Paul A. Soukup, S.J. A. Critical Texts of Avoidance and Discrimination . .11 B. 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Box 519, 6. Conclusion Los Gatos, CA 95031-0519. 2— VOLUME 23 (2004) NO. 4 COMMUNICATION RESEARCH TRENDS Religion and Film Terry Lindvall [email protected] I. Introduction Perhaps the place to start a study of religion and became the image/icon of the invisible God, these reli- film is with the Second Commandment of the gious leaders envisioned the religious possibilities of the Decalogue, mandating that one should not make any visual art (John of Damascus, 1997). Thus, while con- graven image. Receiving the Law from God, Moses cocted in a cauldron of religious controversy, the visual descended from Mount Moriah to find the Israelites arts found themselves baptized into the creativity of the worshiping a golden calf they had made out of materi- Church, and eventually, after being alloyed with theatre, al possessions. The juxtaposition of the Commandment literature, music, and other lively arts, evolved into the and the devotion toward the graven image was ironic, communication medium of moving pictures or film. and a source of adversarial suspicion developed Previous overviews of Communication Research between Hebrew culture and visual art. Trends have inserted sections on films under their gener- However, within chapters of the book of Exodus, al rubrics of media and religion or entertainment and religious aesthetics were established. The first person religion (De Vries, 1995; Soukup, 2002). Soukup (1989) that God breathes His Spirit into is Bezalel, a craftsman compiled an encyclopedic annotated bibliography that of material arts, who is equipped to construct the Ark inspected an international list of key books and articles of the Covenant. Not much later in Israel’s journey (e.g., Ayfre, 1953; Smith, 1921) on these subjects. across the wilderness, God instructs Moses to make a Others, particularly Johnston (2000c), May (1997a), brazen symbol, a bronze serpent that will bring healing Hulsether (1999), and Nolan (1998) have capably sorted to a sickly and grumbling people. Those who look up notable texts on film and religion and categorized them and gaze upon the elevated and projected image regain according to clear and cogent typologies. Johnston fol- their health. The typological symbol suggests the pos- lows Niebuhr’s classic framework of Christian positions sibility of a visual mode of religious communication, vis-à-vis culture while May practices a similar theoreti- one that invites the habit of the gaze. The history of the cal set of categories (based on an acknowledged schema- Hebrews, however, is replete with the rejection of and ta rooted in the academic inter-discipline of religion and temptation to the worship of neighboring cults of idols, literature) that delineates authorial approaches to the the Canaanite Baal, the Phoenician Asherim, or the relationship of religion to film studies (i.e., a fuller sys- Moloch of the Ammonites. Associated with rites of tem of classification centered on hermeneutical modes violence and sex, these cultic images seduced many of heteronomy, theonomy, and autonomy). Hulsether willing and wayward Hebrews, including the sagacious sorts out the relationships among Christian values, king Solomon himself through the influence of his American popular religion, and Hollywood films, offer- numerous foreign wives, into the twin taboos of spiri- ing four different approaches for studying these relation- tual adultery and idolatry. ships: a mythical, a theological, a sociological, and an Rooted in this aniconic Hebrew culture, but tem- historical “apparatus-centered criticism” of religious pered by Hellenic visual arts, the early Church wrestled film censorship. Finally, Nolan pinpoints a very helpful with the place of imagery in its worship and instruction. threefold system of methodological trends in religious By the eighth century, Leo III denounced all use of film analysis in a cinematic theology (preoccupied with graven imagery in the church, calling forth a movement directorial vision and cinematic analogues of biblical of Iconoclasm. He was roundly trounced by the very concerns), biblical-hermeneutical interests (viewing bib- articulate apologist of images, St. John of Damascus, lical themes being interpreted by or developed in films), and by Pope Gregory the Great. Grounding their defense and a general religious studies cultural approach. While of the use of imagery in the Incarnation, wherein Christ theoretically the most fruitful and fresh, Nolan limits his COMMUNICATION RESEARCH TRENDS VOLUME 23 (2004) NO. 4 — 3 overview to in-depth studies of about half a dozen influ- The Religious Possibilities of the Motion Picture, pro- ential authors. What is most remarkable and laudatory is vides a sort of prologue for historical based studies of Nolan’s detailed understanding of how these texts on religion and film, under the research heading of Film film and religion evolved out of religious historical con- History and Religion—such studies accommodate the texts that called them forth. For example, he contextual- dominant issue of film censorship. izes the serious early works of Wall (1971) and Hurley A second, larger and broader, category of Film (1970/1975) in the challenges of a secular theology and Criticism encompasses various religious approaches to the creeping hegemony of film as cultural barometer and understanding (and then rejecting, engaging, or appro- cultural stimulus. priating) film as significant modes of human commu- This review, however, is intended to survey the nication. Subsumed under this rubric are representa- English literature on film and religion and to corral var- tional studies (from Jesus films and Christ figures to ious research trends into suitable academic categories. various portrayals of religious character and rituals) (For a remarkable review of relevant literature in other and more recent trends in inter-textual, cultural studies languages, see May, 1997a, and Hasenberg, 1992.) approaches to religion and film and to audience analy- Rather than looking at the critical posture or interpreta- sis, ethnographic, and reception studies. tive mode of the writings, I will be examining the A third section examines the more conceptual works according to a set of scholarly and pedagogical strand of Theology and Film Theory. Finally, I have research motives. In the larger framework, I am less added a review of presentations of Pedagogical and concerned with theological positions or critical atti- Pragmatic Applications of film and religion. [The third tudes toward film, than I am with what methods of and fourth sections will appear in Communication research or postures of intent have been appropriated Research Trends, Volume 24, #1, March 2005— and practiced by various scholars engaged in the co- Editor.] As a caveat, or more aptly a confession,